FWO PhD student Mengqiu Tian spent two months conducting fieldwork in Dunhuang, one of the key Buddhist sites in northwestern China. Below, she reports on her research experience:
Dunhuang is one of the most important sites for the study of Buddhist art and visual culture along the Silk Road, renowned above all for the Mogao cave complex and its exceptionally rich corpus of mural paintings spanning several centuries. Between September and October this year, I conducted two months of fieldwork in Dunhuang, supported by an FWO Long Stay Abroad grant, with the primary aim of studying mural representations of Maitreya’s paradise dating from the eighth to the tenth centuries, with particular attention to compositions that incorporate narrative vignettes from the Buddha’s life.
The core of my research was carried out at the Mogao Grottoes, supplemented by a one-day research visit to the Yulin Grottoes. During my stay, I commuted daily by shuttle bus between my apartment in Dunhuang city and the Dunhuang Academy. Mornings were typically devoted to on-site examination of murals, often conducted in collaboration with a colleague from the Institute of Archaeology at the Dunhuang Academy, while afternoons were spent consulting secondary literature and visual materials at the Academy’s library. I benefited greatly from the library’s outstanding holdings, which include a remarkably rich collection of monographs, journals, painting albums, and manuscript reproductions related to Dunhuang Buddhist art and cave temples.
Beyond access to primary materials and research infrastructure, the Dunhuang Academy also offers an excellent platform for international scholarly exchange. During my stay, I participated in several academic activities, including The Workshop on New Directions in the Study of Silk Road Material Culture, jointly organized by the Dunhuang Academy and Fudan University. I also visited The First Exhibition of Reproductions of Dunhuang Polychrome Sculpture and delivered a lecture entitled “Chinese influence on the 絵過去現在因果経 (Illustrated Sūtra of Cause and Effect in the Past and Present).” These activities allowed me to engage with specialists from a wide range of disciplines, thereby not only deepening my expertise in Buddhist art history but also broadening my scholarly perspective.
In sum, this fieldwork period proved to be immensely productive. The combination of direct engagement with mural material, access to exceptional research resources, and opportunities for academic exchange has laid a solid foundation for future publications, and I am confident that the research conducted in Dunhuang will lead to concrete scholarly outcomes in the near future.


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